Adapted by Lillian Hellman from Sidney Kingsley’s Broadway play, Dead End concerns itself with several denizens of New York’s East River district. Here the elite and the slum-dwellers rub shoulders due to the close proximity of the riverfront tenements with the East Side luxury hotels.
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An amazing cast shot by a godly cinematographer in one of classic Hollywood's most grandiose sets. A curious and vital exploration of social realism as an alternative to the usual romanticism of 1930s Hollywood filmmaking. One of Wyler's best and one of Bogart's most essential gems.
A stagy melodrama; nearly forgotten! The only memorable thing is embittered Bogart characterization; a notorious gangster got back to his neighborhood in disguise to find his childhood sweetheart and his mother; a reunion that goes wrong. Bogart's shock of pain when he got slapped and rejected by his mom is a great moment.
"Dead end" tiene momentos en que su moralidad de manual es recurrente. Es el mensaje señalizado con luces. Muy a pesar, es su crudeza la que lo hace sobresalir y pasar por alto ese didactismo. De ahí por qué podría asumirse esta película como un retrato contradictoria. Si bien amasa la moral, no deja de reflejar una mirada villana. Niños aspirando a delinquir, una muerte terrible. Lo perverso parece calar más.
A surprisingly sympathetic and gritty film considering the era (and the looming presence of producer Goldwyn). In the glossy, staged world of classic Hollywood this is as hard hitting as it gets. Murder, poverty and prostitution all pollute the spectacularly realised Dead End set. Bogey gives a menacing, but humane performance, but the real star is Clair Trevor in her brief but utterly brilliant scene.
Lessons to be learnt from Dead End: Even if you are Humphrey Bogart, don't go back to your old neighbourhood after a successful career as a baddie because you'll find your mum doesn't love you and your old girlfriend has become a prostitute.
This was quite the mix with one half being a romantic drama and the other half a gangster flick. I enjoyed the grimy 1930s New York atmosphere and applaud the work that went into the detail of the set. All in all the film was okay but I didn't really take anything away from it.